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Adina Izarra
Venezuelan Composer born in Caracas in 1959. |
In 1989 she obtained a PhD from York University in England and since then she returned to Venezuela where she has taught at the Simón Bolívar University, where she now a days directs the Postgraduate programme in Music and the Digital Musical Laboratory. |
Adina has written extensively for the flute and the guitar among other genres, nowadays she is concentrating on electronic music and video art, and many of her works are being played at festivals of this genre. |
She has been part of organizations such as Venezuelan contemporary music, the ISCM (executive committee) and the Venezuelan electro acoustic music. She is also part of RedAsla (a very active net of Latin-American sound art composers organization) and also is the only woman at the Collegium of Latin American composers. |
Her work has always been related to consonance, rather than tonality. Lately she has researched on early music materials and composers such a Machaut and Landini. In the electroacoustic work she has predilection for sound of nature, especially birds, together with street calls, particularly those of Spanish origin still present in Caracas streets.
At the moment she is working on a video Opera based on a love poem of the XI century in Toledo, Spain, where she mixes her version of early music (using baroque guitar and tiorba), puppets, electronic music and love poems read by ordinary women.
Her music has been recorded by BIS Grammophon, and Elektron, Sweden, Leonardo, (MIT, USA), RedAsla, (México) and Equinoccio, Caracas, Venezuela, among many other independent record companies in Venezuela, Argentina, Denmark and Colombia.
She is currently teaching a programme of electronic music for non-musicians based on the Supercollider programme, within a philosophy of freeware for young people, and runs regular courses of Max/Msp for the postgraduate composition programme at the Simón Bolivar University.
She has represented Venezuela many times at the ISCM, and has participated in other latinamerican festivals such as Visiones Sonoras and Manuel Enríquez Contemporary Music Forum (México), Sonoimágenes and EMS 09 (Argentina), and also in San José de Costa Rica, Montevideo, Uruguay, Cuenca, Ecuador, Medellín, Colombia, United States, Fylkingen, Estocolmo and Canada. Her flute works are frequently mentioned in academic works on contemporary latinamerican compositions.
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